Canción de cuna para un cadáver

A few years before this film came out Bette Davis penned her first set of memoirs, The Lonely Life. She might well have been setting the stage for this film, Hush, Hush Sweet Charlotte.

Bette is a lonely old spinster woman who back in the day was set to run off with married lover Bruce Dern. Bette's father wouldn't hear of it and paid Dern off. But he wanted Dern to keep a scheduled rendezvous with Davis's character. In keeping that rendezvous Dern was done in with a well wielded meat cleaver.

She's lived in that old mansion, quite a showplace during her youth, for 40 years with only Agnes Moorehead her maid for company. Of course she was suspected in Dern's murder and a whole lot of legends have grown up about her as she's grown older.

People are terrified of who they believe is their own southern fried incarnation of Lizzie Borden. But during the film Bette is more put upon than anything else by some rather unscrupulous people.

Hush, Hush, Sweet Charlotte is Davis's obligato to her well received Whatever Happened to Baby Jane. She's joined in this film by former work colleagues, Olivia DeHavilland, Joseph Cotten, and Victor Buono.

Olivia's quite a wonder in this. She substituted for Joan Crawford who after the well publicized battles during Whatever Happened to Baby Jane decided she wasn't up to rematch. DeHavilland and Davis were old friends from Warner Brothers. And those of us who remember Olivia from her salad days at Warner Brothers will not be used to seeing her in the kind of role she has her.

Both Charlotte and Baby Jane were well done horror flicks. Unfortunately for Bette some of the later ones she chose weren't quite so good and didn't add anything to her reputation.

What an entertaining movie! It's the Southern setting that gives the film its potent flavor, with that overwrought plantation house, the Southern accents, the small town gossip, antebellum attitudes, and the music at the party in 1927. The script's dialogue also reflects this Southern tint. Mournfully reflecting on the past, Sam Hollis (Victor Buono) says near the beginning: "My daddy sat out there on that veranda; let this whole place slide to dust; when he died there was nothing but debts and dirt; I touched that dirt and made it blossom".

The story's theme is a preoccupation with the past, with ghosts not properly buried, and with family secrets, repression, and subterfuge. Charlotte (Bette Davis) is a pitiful woman because she is not rational. Like her daddy, she can't let go of the past. Living all alone in that big house with just her housekeeper Velma (Agnes Moorehead), Charlotte obsesses about bygone days. But if her own delusions contribute to her misery, she at least has the presence of mind to understand that those who come to visit her may not have her best interests in mind, hence the story's conflict as she attempts to fight back.

All of the major roles are ideally cast. I would not have made a single change in casting. Acting trends a tad melodramatic at times, but that's part of the fun. Agnes Moorehead gives one of the great supporting performances of all time. And Olivia de Havilland, with her vocal inflections, shrewd smile and stylish behavior, adds elegance that contrasts nicely with the shabby and humorously uncultured Velma.

B&W cinematography also contributes to the film's high quality. Dramatic lighting, interesting overhead camera angles, lots of interior shadows, and quick zoom-ins all add visual interest.

Plot structure is okay, but the runtime is a bit lengthy. I wish they had edited out some of the campy scenes in the second half.

"Hush...Hush Sweet Charlotte" is a grand movie, with grand actors and grand moments. The story contains mystery, spine-tingling suspense, and it veritably drips with Southern angst. Though the film is a tad campy in a few spots and is a bit long, nevertheless it's wonderfully entertaining.

This film was meant to be a kind of sequel to "Whatever Happened to Baby Jane?". However, this film is missing the dynamic of those dueling actresses, Joan Crawford and Bette Davis, present in the first film. Instead we have the perennial sweet thing of the golden age of Hollywood, Olivia de Havilland, playing opposite to Bette Davis. Plus Olivia and Bette were always friendly in spite of both being very ambitious at the same time and the same place - Warner Brothers of the 1930s and 40s.

As a teenager Charlotte Hollis (Bette Davis) was presumed guilty of killing her married lover. And no wonder, she wanders into the family mansion during a society ball the night the man was killed covered in blood and in shock. Her wealthy father managed to fix it so she never faced charges, but Charlotte has lived as a recluse ever since, always presumed guilty by her neighbors and the press, and therefore shunned for the past 37 years.

She is facing eviction from the family plantation since her property is in the path of a new road that is being built. Her cousin Miriam Deering (Olivia de Havilland) comes to visit during this time to try and get her to come to terms with moving. With Mary Astor as Jewel Mayhew, the widow of the murdered man, and Agnes Moorhead as the housekeeper.

Charlotte's problem besides being evicted? She has been receiving anonymous mail for years tormenting her about the killing and she is starting to see things that are not there. Or are they?

I actually liked this film better than "Baby Jane" because I always felt that film was too long and too claustrophobic. Plus for once I liked the production code ending, the twist at the end, and justice like it was out of a Looney Tunes cartoon.

Well, I loved Bette Davis' performances, as a rule. But I'm willing to bet that even NON fans of Davis would appreciate her tour in this particular movie. Following two years after "Whatever Happened to Baby Jane?", "Hush...Hush, Sweet Charlotte" is nevertheless four times the film of its more noted predecessor. The reasons for this are four=fold. The script, though occasionally unintentionally funny, is still crisper, more believable and contains a more satisfying ending. Next, Davis' is more balanced by the performances of DeHavilland, Cotton, a more mature Victor Buono, and the great Agnes Morehead. Thirdly, we have a better set and setting, more attuned to the genre. Finally, the cinematography is several notches better, in my opinion. Adding it all up, you have an exceptionally fine example of that unique genre, the gothic melodrama. In this movie, the genre is virtually defined! If asked to name an example to a "top twenty" or "top fifty" movie list, "Hush...Hush, Sweet Charlotte" would definitely make the cut.

Following the success of camp classic 'Whatever Happened to Baby Jane?' (1962), producer/director Robert Aldrich once again cast Bette Davis in the lead for his follow up 'Hush... Hush, Sweet Charlotte', this time with Olivia De Havilland as her co-star. One might expect this to be an inferior imitation of Baby Jane, repeating that film's formula of outlandish melodrama and twisted characters, but although it does share some similarities with its predecessor (most notably, Davis's eccentric performance), I consider it to be the superior film, a gripping murder mystery that serves up a large helping of Southern gothic, grand guignol, and the macabre.

The film opens in 1927, at the antebellum mansion of the Hollis family, where patriarch Big Sam (Victor Buono) confronts John Mayhew (Bruce Dern), the married lover of his daughter Charlotte, and orders him to end the relationship. The next evening, during a party at the Hollis house, John meets Charlotte in the summerhouse and tells her that he no longer loves her; distraught, Charlotte runs away. Moments later, John is brutally murdered, his hand and head hacked off with a meat cleaver (this scene being surprisingly gory). Wandering into the party covered in blood and in a state of shock, Charlotte is ushered away by her father.

37 years later, Charlotte (Davis) still lives in the mansion, her father having used his connections to prevent his daughter from being charged or tried. The only other occupant is Velma the housekeeper (a wonderfully unconventional turn by Agnes Moorehead), but this all changes when Charlotte writes to her cousin Miriam (de Havilland), hoping that she can somehow prevent The Louisiana Highway Commission from evicting her from her home. Miriam comes to the house soon after, but helping Charlotte couldn't be further from her mind: with the help of old friend Drew (Joseph Cotten), she intends to push the already mentally fragile woman over the edge and have her certified insane so that she will gain control of the family fortune.

While perhaps not as iconic as Baby Jane, 'Hush... Hush, Sweet Charlotte' trounces that film's tale of bitter sibling rivalry with its engrossing mystery that, while not always unpredictable, provides bags of atmosphere, lots of suspense, and plenty of opportunity for Davis to do her demented thang. It also neatly switches things around at the halfway point, allowing De Havilland her chance to act deranged, the seemingly sweet Miriam proving to be just as nutty as her cousin. Also a delight to behold: Cecil Kellaway as insurance investigator Harry, who ties up the loose ends nicely.

Like Baby Jane, Sweet Charlotte is perhaps a little overlong for this kind of thing (under two hours would have been nice), but Aldrich maintains a steady pace, and the game cast (which includes silent movie star Mary Astor, as John's widow, and disaster movie regular George Kennedy as the foreman of the crew come to flatten Charloote's home) ensures that there is rarely a dull moment.

7.5/10, rounded up to 8 for IMDb.